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DCPs are *intraframe Jpeg 2000, typically around 150GB Cinema-City-tehnicheski_iziskvania.pdf

Banding is a combination of bitdepth precision, chroma subsampling, compression and stretching the image in post. S-log3 is so flat (and doesn't even use the full 8-bit precision) that pretty much all grades qualify as aggressive tonal changes. S-log2 is a bit better, but still needs more exposure than nominal in most cases. Actually, I can't think of any non-Arri cameras that don't need some amount of overexposure in log even at higher bitdepths. These curves are ISO rated for maximizing a technical notion of SNR which doesn't always (if ever) coincide with what we consider a clean image after tone mapping for display. That said, ETTR isn't usually the best way to expose log (or any curve): too much normalizing work in post on shot by shot basis. Better to re-rate the camera slower and expose consistently. In the case of Sony A series it is probably best to just shoot one of the Cine curves. They have decent latitude without entirely butchering mids density. Perhaps the only practical exception is shooting 4k and delivering 1080p, which restores a bit of density after the downscale.

The 24-105 does sound great. I tried the 24-70 GM a few months back and the clarity, sharpness, whatever you want to call it, made a huge difference. If the 24-105 is even close to that it would make sense. Native glass, no metabones problems, smaller size, lighter, actual autofocus. For docs it makes a lot of sense and I'm pretty excited about using it.

Gave it a try over the weekend. Works surprisingly well. 4K 24fps shutter 1/50 NX1 50-200 OIS III AF:

Can't stress enough how much I think you should buy sharp, fast zooms instead of primes. It can make the difference between getting the shot and not when you're doing unscripted. Sigma/tamron 24-70 2.8 IS, and 70-200 2.8 IS would give you everything you need, including good low light on full frame cameras. As for the camera: Since you're doing stills and want a light package, think you basically only have two choices - 1DXII and A7RIII. They both have great stills and useable autofocus (canon's is insanely good). Wouldn't go GH5 route because of poor autofocus and poor low light compared to the others. Given the budget and probable need for good autofocus, I'd say 1DXII - Just make sure you leave enough in the budget for a ton of hard drives!

On top of all this, if IPB really were a "motion cadence killer," then everyone would be complaining about watching movies at home, because whether it's Blu Ray or iTunes or Netflix, we NEVER get to see big budget films without interframe compression. And I can't prove it, but I'd be willing to put money on the files being distributed to movie theaters with digital projection having interframe compression, as well. There's no way they're sending out 300+GB files!

Sorry to say, but this film and pictures look bad to me. Maybe it’s distroyed putting them up here? The first one in the thread look better.

We need a simple bus system for roles, and the ability to put a limiter on the main output, without creating a compound clip.

I've started combining SGamut3.Cine with SLog 2 on 8 bit. SGamut3.Cine is much better suited both for 8 bit and the cheaper color filters that go into Sony's below F55, and S Log 2 makes better use of the entire range of code values. S Log 3 is designed for 16 stop sensors, and cuts off at 94IRE on current 14 stop sensors. Not a big deal on 10 bit but important on 8. Have you tried this combo, @kidzrevil? One cool thing is that using standard SLog2 to 709 LUTs creates some very "cinematic" colors straight off the bat. I've started doing this even shooting 10-bit.

@Mark Romero 2 why do you have a second profile?! this is a trap/troll topic from a well known DPR troll which has been banned multiple times there. He is on my ignore list, so I wouldn't like him to reply straight to me. my reply goes to Mr Romero. 1. NX1 2. Sony a6300/6500 AND latest Fuji (apparently the same sensor) 3. 4. NX1, plus -bonus-NX1 is at the top 3 of the least rolling shutter in 1080p. Also NX1 has No crop in high speed options, and Andrew did recently a comparison, giving 7/10 to the NX1 and 5/10 to the Sony. 5. 6. 7. 8. NX all the way! Can't even stress those differences enough, and I add the better consumption management and with bigger capacity batteries. Ah, full touch screen control with the best menu system/UI/wi if-Bluetooth-NFC in industry (Panasonic is catching up in remote control though) 9. That is subjective. I have used professionally the NX1 with Ronin gimbals (and AF) with great success. I am planning to buy a Crane soon, split between the V2 or 2. 10. NX1, plus headphone out. 11. NX1 has 28mgpxls BSI sensor, and the 12-24 and 10mm fish eye are 2 of my favorite 3 lenses. Sony doesn't have a native fish eye. I haven't used the UWZ. Sony is a great photo camera, but all the rest of the issues (ergonomics mainly, try to use a bigger lens on that one) and this and that would make that a tie, at least.

8 bit is not the cause of banding - it's the high compression 4.2.0 internal codec. 8 bit HDMI out to an ext recorder won't band unless you really abuse it ( and that's the only way I use S-LOG on my Sony's). 8 bit (RGB)Tiffs generated from RAW stills are very hard to produce banding in unless you do very aggressive tonal changes but output a highly compressed jpeg from the same RAW and it can have banding even without touching it. Also with a video camera we are not talking RGB but YCbCr which should be better than RGB in this regard as most of the data is in the Luma channel but due to the massive compression found on internal codec's it bands oh so easily.

1) The NX1 looks higher res at least to my eye, so does the GX80. 3) Ive never seen moire in any of them. The rest sounds about right.

Agree, beautiful look!

A random/chronological selection of over 200 video clips that I have captured with the NX1 over the past two years using an assortment of legacy Tamron Adaptall II lenses. Looking back through terabytes of clips was great fun, I hope that you enjoy this selection. https://www.youtube.com/watch?v=YRPGebe80l0 My other Youtube channel - WTF - What's This Fing? https://www.youtube.com/watch?v=In5kFNd6g2E

Thank you! I really appreciate the kind words. For this film I didn't actually use ML Raw! I was surprised too by the amount of detail in the image. I used my Atomos Ninja 2 to record prores HQ. I wanted to shoot raw on this one but I wasn't going to be able to finish it in time for halloween weekend if I did. We shot this 10 days before it came out. The whole thing was filmed using the 24-105 f4 kit lens. No noise reduction in post. Audio captured on Rode VideoMic Pro and a few sound effects from soundsnap. The whole thing was shot at 1600 ISO.

of course its better, but not taking-up-2.5x-more-storage-space better.

Deal with motion under certain circumstances such as water or leaves and you'll see if you don't notice much (of a substantial) difference... ;-)

You're going to get a standing ovation from me for sure Being of that age, yes, I'm very familiar with rating film slower and developing long/shorter, etc. However, even in film, you make a trade-off. Shooting the grand canyon is different than shooting a portrait. One pushes or pull films based on what they're shooting. They aren't doing something smarter than the manufacturer who wants to optimize their product for most shooting conditions. LOG can give you benefits in challenging lighting. Never disputing that.

Not regardless the best settings though... GH5 is a professional camera indeed. Requires know-how and work. There are no miracles straight out the box.

Well, hiding is also a science of arts... : D Detail can be such a spoiler, oh my, for some reason the art of covering up is a priceless know-how. Once and hence, reality is not priceless all the time ; ) E :-)

Yes, I'll confirm that my 1s recording issues are simply an issue of me doing a "double punch"

A7S / A7R release cycle: They tend to be 3-6 months apart A7R1 - October 2013 A7S1 - April 2014 A7R2 - June 2015 A7S2 - October 2015 A7R3 - October 2017 A7S3 - Probably April 2018 (NAB)

Here is a quick comparison between the anamorphic lenses I have. The goal is to compares the flares and sharpness. Hypergonar Hi-Fi 2 Dyaliscope Champion Singer/Sankor 16D (uncoated) Elmoscope 1 Isco Ultra-Star Schneider Cinelux. All shots with : BMMCC Mitakon Lens Turbo II Helios 44-2 Focused to infinity, using a +1 close up diopter (Hama) except for the cinelux which used the Rectilux Hardcore DNA (Sorry for the misaligned Cinelux shot, didn't see it until edit.) Shot in Raw 3:1, edited and graded in Resolve. Applied the same color correction to all the shots. I chose this lens, so that every anamorphic adapter would not show vignetting. Equivalent focal length is 58 (Helios 44-2) * 0.72 (Lens Turbo) * 2.88 (BMMCC) = 120mm (FF) The flares from the Hypergonar and Dyaliscope are just epic. I really like the subtle flares of the Elmo I The flares of the ultrastar and cinelux are very muted, as expected. The Singer (Sankor) 16D shot is just to show what happens if you want to uncoat your lens What do you think ?

12. Adding a completely irrelevant comment that adds zero calories. eg. Question about a specific camera issue being answered by "I have never used that camera and don't know anything about your problem but you could try buying a different camera". The trick is to find a post that you *can* help with and post *there*.

No 10bit and oh my god, we're still at a 100Mbps bitrate for 24p/30p 4K?!?! Goddamn Sony.. throw us a bone for video here.

Some of the best pictures I've "captured" have actually been stills from 4K. My usual process is to take them right out of Final Cut Pro, using the "export frame" setting...As far as coloring goes, the pic comes out with whatever LUT I have on the footage (not usually a bad thing).

I loved the new film I was far from dissapointed - I was expecting the worse. Its dense non commercial, intelligent and technically excellent too..... I did feel that there was too much detail. I did feel the colours too out of the can..... they were washes over not built in lighting. BUT none of that is nearly as important as my thoughts on the questions I had the BIG METAPHYSICAL Questions I had after watching the original. Such things like - how long do we have - and what do we do in that time - does it make a difference about what we are as long as the feelings to us feel real. These things have lived with me most of my adult life - from seeing the film in my late teens. Those questions have shaped my life. Too pursue - to pounce on life while it is there...... to reach out in the time we have.... to believe in ones emotions. To live with some form of poetry at times - that is emotively based...... Now maybe my multiple sittings of the original has allowed me to distill those thoughts to the point where the message speaks bigger than the plot and vision. I did feel due to the experience of the new film that I was immersed in the world but was so engrossed that those big questions were hard to hear - maybe they werent there..... or maybe i should start rewatching it again. Either way the new film is fukcing impressive - it was never going to fill the boots of the original......... but its one of the best things Ive seen in ages.

http://www.hahnel.ie/irish-shop/productUrl/hrop-280-pro-for-pana-oly/

Sound department is missing?!

@JazzBox Simo, hope this helps! :-)

Simo, have you seen these?

@tihon84 ;-)

It can definitely look cinematic. I've been on the fence about this camera...but it's just to hard to ignore it's features per price. Especially with the news of the new 400mb codec.

We should rename this thread to "Actually, you can make the GH5 do slow-motion"

Remember... there's a reason why high end, professional photographers use Canon or Nikon. It's the glass. So base your decision from that. I personally wouldn't risk relying upon electronic adapters for the work you're describing. If you need Canon glass, use a Canon. If you need Nikon glass, use a Nikon. Since this is a hybrid photo/video job, Canon seems like the logical choice. If you hate the idea of using either, then make sure your choice has the native glass you need to do the job.

C100ii and a 1DXii. Great workhorse video set up and a workhorse stills/video hybrid if you need 4K at 60p for some things. Hire out the drone when needed. Get a 24-70mm, a 70-210mm, and a couple primes.